The movie takes on the quality of a first-rate detective story.

The only misstep Jun makes, and it's hard to fault him given the budget, is the mediocre and at times heavy-handed use of music. Still, it's an unqualified success from the heartland.

Much of the bite and a good deal of the wit of the first two films are missing here. The rude send-up of beloved fairy tale conventions remains -- somewhat -- but these playful jabs no longer come as pleasing surprises. You expect them. And you expect better.

The writing in Brooklyn seems even more generic. An excessive use of voice-over narration is a sure sign of a failure of dramatization.

Overlong and overstuffed with cliches -- the movie doesn't seem to realize how close it comes to comedy.

Pretentious to the core and lacking any context or credible characterizations.

While Michael Keaton and Brendan Fraser turn in a pair of sturdy performances, the film itself proves to be a harder sell, especially because it looks and sounds like Mamet but proves to be a flimsy knockoff.

A winning combination of laughs and genuine shocks.

Hartley's kooky cosmopolitan caper can never be accused of slumming, but the shift from dry, offbeat wit to politically charged drama is a little jarring, to say the least; it's a bit like taking in Woody Allen's "Annie Hall" and having it morph mid-way through into "Shadows and Fog."

In large part the film succeeds, feeling like a good-natured throwback.

What distinguishes it are its intelligent, unsentimental screenplay, which only occasionally lapses into emotional manipulation; the assured direction by Yukihiko Tsutsumi; and the superb acting.

The film has enormous charm and zero pretense.

A ferociously entertaining thriller with sympathetic characters, stunning set pieces and pulsating excitement.

The hilariously dirty insult comic Lisa Lampanelli shows up all too briefly as Engvall's shrewish wife.

Proves to be more prone to malfunction than dysfunction.

A cut below its predecessors.

More a series of loose-limbed vignettes than a sculpted narrative, Chalk lacks a compelling dramatic drive. But the cast creates a fine, improvisatory interplay, captured with verite-style camerawork, and the unforced humor and insights go a long way.

For a comedy, it's not really funny.

Shows tremendous control and discipline, especially for a young filmmaker on her first feature. Director Julia Loktev might be working on a profoundly low budget, but her camera work and lighting are precise and imaginative.

Winnepeg filmmaker Guy Maddin isn't known for run-of-the-mill movies, but the feature he debuted at the Toronto Fest was outrageous even for him. A silent film taking the form of a twelve-chapter Feuillade-flavored serial and designed to have live accompaniment, the movie itself is a match for any of his features to date, and could outstrip earlier efforts in the arthouse arena.

The pain of watching a spouse succumb to Alzheimer's is given a particularly deep and sensitive treatment in Away From Her.

The wow factor works overtime with state-of-the-art effects sequences that often are as beautiful as they are astonishing.

Poker has proven itself a popular spectator sport on television -- at least in the short run -- but as scripted drama, where you can pretty much guess the winner of a given hand, it's dull, dull, dull.

While the film doesn't fully succeed in its striving for a Hitchcock-style ambiguity in its storytelling, it is consistently engrossing in its exploration of the fine line between civic duty and vigilantism.

Being in Paris is to be inside a work of art, and it is no surprise that in the charming collection of vignettes that make up Paris je t'aime, the art is love.

Best of all is Holm, who is consistently hilarious as the sarcastic shrink from hell.

The same organic characterizations that marked Lawrence's acclaimed 2001 film "Lantana" will attract fans of strong adult drama.

D-grade "Running Man" ripoff.